When Fashion and Architecture Collide: a Conversation with Nathalie Danten and Francesco Pizzorusso
Last November, B&A hosted PLĀS IN THE BASELINE at Bicchierino bar in collaboration with some of the most innovative creatives currently residing in Milan. This immersive experience was conceptualized by the architect Francesco Pizzorusso, whose captivating installation showcased several pieces from PLĀS Collective’s recent ‘What Artists Wear’ collection. The stunning silhouettes of the garments on display were conceived by fashion designer Nathalie Danten, who also took part in the event. We had the opportunity to interview both Francesco and Nathalie to gain insights of their personal journeys as artists, as well as their current creative process and mission.
A snapshot from B&A x PLĀS IN THE BASELINE event at Bicchierino bar.
Nathalie Danten – Fashion designer at PLĀS Collective
How would you describe PLĀS Collective and its mission to someone that has never heard about it before?
PLĀS is a fashion brand that specializes in limited edition garments and design collectibles, created by a global collective of artists for the creative community. Our mission is to empower individuals to embrace their unique style and to foster innovation through collaborations with diverse creatives.
The name PLĀS came to me in the form of a little card I found in a store while I was studying in New York, it said:
/plās/
a. place
(n) a distinct condition, position or state of mind; (adj) the intrinsic character of a space, or the meaning people give to it.
I photographed it and added it to my favorite pictures folder. When I began setting up this project, I was going crazy thinking of the right name that would represent it. Then, one day, while scrolling through my images, I stumbled upon the picture of the card, and I felt it perfectly embodied what I was trying to create.
PLĀS describes itself as a collaborative space that brings together different artists, artisans, and designers. How do you manage to walk the line between nurturing each collaborator’s creative identity and preserving a cohesive brand identity?
Striking a balance is definitely a challenge, and it remains a continual learning process – from our first collaboration to the ones we are doing at the moment. I believe that it is extremely important to be aligned from the start, already when choosing the creatives whose work inspires us and our community and establishing a clear frame for the collaboration. The key lies in both parties being specific and transparent about boundaries and areas of absolute freedom. This is crucial because, in the end, what is exciting for a creative about collaborating with PLĀS, as opposed to working with a large brand, is that they have the liberty to interpret the concept we selected in their distinct, personal way.
Sweaters from PLĀS’s recent ‘What Artists Wear’ collection.
Aside from promoting important values like sustainability and artisanal quality, an aspect about PLĀS that is particularly innovative is the fact that you create limited-edition garments and design collectibles. Why did you choose to adopt this business model?
I was inspired to create innovative and high-quality products that involve a collaborative aspect after studying other brands and artists (not only clothing brands, of course). This approach, combined with the decision to produce limited-edition clothing, ensures that our customers acquire unique pieces that not everybody has. However, we are also currently working on a permanent collection, and we have decided that it will feature a more minimal and essential design, as this style makes more sense for a clothing line that will be available at all times.
Between your impressive academic background, having studied both at Parsons and Bocconi, and your experience working for other groundbreaking fashion brands, like Dilara Findikoglu and Heliot Emil, you must have gained some valuable insight into the world of design. What would you say are the key lessons that you have learnt, and do you think these environments have impacted you in different ways?
From my academic background, I learned that no prestigious institution will ever give you something that you are not actively striving and pushing for. Institutions, teachers, and resources are useful tools, but it is ultimately up to you to figure out what you want to do with them. Only your capacity to connect the dots and your drive to achieve something can transform those tools into something bigger and more powerful.
When I was a part of Dilara Findikoglu and Heliot Emil, these brands were in their starting days, so I felt as if I was “in the kitchen” observing how fashion brands actually operate. I had the opportunity to take a glimpse of these behind-the-scenes dynamics not only from a design perspective but also from a business, production, and communication standpoint, given that the team was small, and we all worked in the same space. I also found it inspiring to see the founders figuring out how to make their labels grow into the established brands they have become today. Beyond just honing my design skills, the lesson I took away from this experience was that, if you clearly envision a project, you can turn it into a reality.
Other pieces from the ‘What Artists Wear’ collection.
You are originally from Uruguay, but have lived in various fashion havens like New York, London, Copenhagen, and now Milan. Do you think your nomadic lifestyle has influenced your aesthetic sensibilities and/or the creative vision behind PLĀS? Also, out of all these cities, is there one that is particularly dear to your heart?
My nomadic lifestyle, which happened by mistake, has definitely shaped me not only as a designer, but also as a person. In some way or another, it has guided me towards a community that I feel welcomed by and at home with, which I now proudly stand for and design for.
New York, London, Copenhagen, and Milan all have a special place in my heart as I lived in them during different periods of my life. All these cities complemented each other, teaching me different things and allowing me to meet amazing people that I never could have even dreamed of encountering before. I feel super blessed and thankful to have had my time in each one of them.
A common thread I’ve noticed among all these cities is the necessity for clothing to serve a functional purpose since the people who reside there, especially those in the creative community, often don’t have cars and need to walk, bike, or take the metro (which involves walking up and down a lot of stairs). However, they are also buzzing with events, meetups, and new spaces opening, so you are constantly doing something and meeting new people from different backgrounds and places around the world. And since clothing functions as an initial form of self-presentation to other fellow humans, you want to be wearing something that expresses who you are. Yet, the challenge lies in ensuring that these personal pieces can seamlessly adapt to the diverse situations you may face throughout the day. This is how PLĀS and its core philosophy came to be.
PLĀS goes beyond the mere creation and commercialization of clothing by exhibiting artistic installations at events, such as the one that recently took place at Bicchierino bar. What is the goal/inspiration behind this part of the creative process, which you call SPAZI(o)?
PLĀS was started to fill a void for creatives – it is a brand that supports and fosters connections between diverse artistic practices. Beyond mere clothing, PLĀS embodies a mindset and serves as a hub for creatives to dress, create, connect, and find inspiration. For us, SPAZI(o) is where all the elements of PLĀS join forces and our vision comes to life. Overall, the purpose of PLĀS is to champion and empower creatives worldwide by acting as their ultimate advocate.
Francesco Pizzorusso - Freelance architect and co-founder of Spazio Martín
Tell us a little bit about yourself. How did you end up becoming involved in the field of architecture?
I grew up in a family with two art historian parents who collected a lot of architecture books, and as a child I would go through the shelves and immerse myself in them, which sparked my curiosity about the field. At the same time, I was very inspired and fascinated by what my uncle – who is an architect - was doing.
Do you have any sources of inspiration or role models that you look up to?
In general, I try to be inspired by a lot of people around me – not necessarily just architects, but also photographers, fashion designers, stylists, set designers and artists. I look at how they think, talk, process, and put it all into their work. I’m really interested and inspired by people who are very passionate about what they do and can translate their creative process into an exciting result.
Francesco Pizzorusso wearing an outfit from PLĀS. Photo by Nathalie Danten.
You have lived in several places throughout the years, including Florence, Rome and Berlin. Would you say that the architecture scene in one or more of these different cities has had a particular impact on you?
Growing up in a city like Florence taught me to always look carefully at what was around me and to appreciate it. It was easier for me to get out and walk around than to stay at home and study architectural history books.
Berlin truly opened my eyes to different aspects of my life, both professional and personal. While Florence can be likened to an open-air architectural history book focused on the Renaissance, Berlin narrates the story of many architectural eras. It was in the German capital that I first saw buildings by my favorite masters – from Mies van der Rohe, Schinkel, Bruno Taut, Walter Gropius to Rem Koolhaas, Hejduk, Aldo Rossi, and Brandlhuber. Moreover, Berlin has helped me to see things differently and liberate myself from many prejudices and social constructs, which are still deeply ingrained in Italian culture.
What is your favorite and least favorite aspect about your work, or of the architecture industry more broadly?
I really enjoy the psychological part of my job; listening to the client’s needs and translating them into new constellations of spaces where they will live every day. I also like the challenge of working on projects with a limited budget and still trying to achieve a high quality and good-looking result.
On the other hand, what I don’t like is that the architect is often seen just as an executor of bureaucracy – the one who must deal with building permissions or neighbors complaining about the noise from the building site.
Another complex aspect of my work as an architect is the timeframe of projects, which typically ranges between four months and a year. I personally like to alternate between more extended architectural projects and set design jobs that are often shorter in duration, and certainly very stressful, but gratifying because you can see the results quite quickly.
The installation created by Francesco Pizzorusso for the B&A x PLĀS IN THE BASELINE event.